目的論與戲劇翻譯

1、目的論與戲劇翻譯_淺析莎士比亞名劇Measure forMeasure的三個(gè)中文譯本提要眾所周知，戲劇作為一種特殊的文學(xué)體裁，還同時(shí)具有舞臺(tái)表演的特，性，這導(dǎo) 致了戲劇翻譯中的一對(duì)矛盾：是將源文本的文化特征淋漓盡致地表達(dá)出來(lái)，還 是為舞臺(tái)表演犧牲部分文化因素?研究并解決這一矛盾成為當(dāng)前戲劇翻譯研究的重中 之重。而縱觀中外翻譯史，翻譯界對(duì)戲劇翻譯所作的研究為數(shù)并不多，且缺乏系統(tǒng)的 理論指導(dǎo)，對(duì)戲劇中這一矛盾的關(guān)注更是不夠。本文嘗試從目的論出發(fā)來(lái)審視這一矛盾, 以目的論為研究的理論框架，試圖證明目的論對(duì)研究和解決戲劇翻譯中的矛盾行之 有效，在戲劇翻譯中意義重大。作為文學(xué)藝術(shù)和舞臺(tái)藝術(shù)的結(jié)合體，戲劇

2、具有雙重性。這種雙重性使得傳統(tǒng) 翻譯理論難以指導(dǎo)或評(píng)估戲劇翻譯。而目的論主張翻譯目的為翻譯活動(dòng)中的首要 決定因素,這為翻譯研究，特別是戲劇翻譯研究開(kāi)拓了新的視野。只要譯文實(shí)現(xiàn)了既 定翻譯目的，那么該譯本就算是成功的譯本。為驗(yàn)證目的論在戲劇翻譯中的可行，性, 本文運(yùn)用該理論評(píng)價(jià)莎士比亞“Measure for Measure”的三個(gè)中文譯本，以期從成 功的翻譯實(shí)踐中找到有益啟示。全文由五個(gè)章節(jié)構(gòu)成。第一章對(duì)戲劇進(jìn)行全面介紹，總結(jié)戲劇語(yǔ)言的特性， 進(jìn)一步指出戲劇翻譯中的矛盾，并回顧了翻譯界的相關(guān)研究。第二章引進(jìn)目的論 的理論框架，闡明其主要概念及其對(duì)戲劇翻譯的特殊意義。第三章從目的論影響譯者 翻譯

3、方法的四個(gè)因素出發(fā),介紹原作者莎士比亞、譯者梁實(shí)秋、朱生豪和英若誠(chéng)的相 關(guān)信息。第四章從目的論的角度，對(duì)三個(gè)譯本進(jìn)行了詳盡分析，進(jìn)一步驗(yàn)證目的論在 戲劇翻譯中的可行性。第五章總結(jié)目的論在戲劇翻譯中的重要意義及深遠(yuǎn)影響。關(guān)鍵詞:戲劇翻譯，目的論,文學(xué)性，舞臺(tái)表演ivTABLE OF CONTENTSChapter I General Introduction to Drama and Drama Translation. 1Definition of Drama: Literary Art & Theatrical Art1Features of Dramatic Language: Speak

4、ability & Individuality.2Duality of Drama Translation: Performance-oriented &Reader-oriented.3Relevant Study of Drama TranslationsDrama Translation Theories in China.5Drama Translation Theories in Western Countries7Chapter II The Skopos Theory and Drama Translation. 11Development of the Skopos Theor

5、y. 11Two Rules of the Skopos Theory12Five Points of the Skopos Theory.13Factors Affecting Translators Strategies from the Skopos Theorys Standpoint.14Significance of the Skopos theory for Drama Translation.15Chapter III Researches on Three Chinese Shakespearean translators from the Skopos TheorysSta

6、ndpoint.17William Shakespeare and his Measure for Measure.17Liang Shiqiu and his Complete Works of Shakespeare18Initiator or Commissioner18Translator.19Source-text Producer and Target-text Receiver21Zhu Shenghao and his Translation of Shakespeare.22Initiator or Commissioner22Translator.23Source-text

7、 Producer, Target-text Receiver243.4 Ying Ruocheng and his Drama Translation.24Initiator and Translator.24Source-text Producer and Target-text Receiver26Chapter IV Sample Analysis27Characters Names.27Allusions.28Metaphors.31Idioms.34Puns.37Obscene Words40Summary42Chapter V Conclusion 44BIBLIOGRAPHY

8、46vChapter I General Introduction to Drama and Drama TranslationDrama translation is a special and distinctive branch of literary translation due to thedualistic nature of drama. Then what on earth are the unique features of drama and dramatranslation? We may start our discussion with a general intr

9、oduction to drama and relevantstudy of drama translation before going any furtherl.1 Definition of Drama: Literary Art & Theatrical ArtOriginally, the word “Drama” comes from a Greek word, “dran”， meaning “thingdone”， “action” or “deed”. To make it clear, the author looks up the word “drama” insever

10、al authoritative dictionaries and collects the following interpretations for furtherreference:ndIn the Oxford English Dictionary 2 Edition 1989, “Drama” is “a composition inprose or verse, adapted to be acted upon a stage, in which a story is related by means ofdialogue and action, and is represente

11、d with accompanying gesture, costume, and scenery,as in real life; a play”In the Encyclopedia Britannica 1964: “Drama” is “a form of art in which the artistimagines a story concerning persons and incidents without himself describing, narrating orexplaining what is happening”In the Encyclopedia Ameri

12、cana 1986: “Drama” is “a form of literature intended forperformance by actors. In general the subject matter is narrative in character and, in thetype of story traditionally considered suitable for presentation onthe stageWe may summarize the above interpretations like this: drama is a genre of lite

13、raturewith a story related by means of dialogue and action, and produced to be acted upon thestage. The term “drama” is used in an inclusive way that emphasizes both its literary natureon page for the reader and its potential for performance on stage for the audience. On theone hand, it is literatur

14、e whose aesthetic effect depends on a collective endeavor and thereceptors response is mostly spontaneous and immediate. Since the play text containsstage directions and dramatic language which depict the portraits of characters and pushforward the plot, we can still read the play text as any other

15、literary works. On the otherlhand, drama is “an audiovisual presentation of time and space, involving music, dance,fine arts and literary language, with the simultaneous presence of actors and audience” Lin,1993: 4. The original intention and full potential of drama can only be brought out andrealiz

16、ed by performing on stage. Thus the ultimate receptor of drama is supposed to be theaudience in the theatreAlthough most dramas are produced to be performed, there is an exception. Somedramatic works are called “closet dramas” or “closet plays”， which are created to be readIn this case the playwrigh

17、t does not need to take theatrical performance into considerationHowever, plays with such a pure purpose are scarce, and here in this thesis, we focus ourattention on stage-oriented drama1.2 Features of Dramatic Language: Speakability & IndividualityAs a special form of literature, dramatic writing

18、is largely different from other literarygenres. In Jiao Juyins words, the receptor of most literature genres, such as poetry andprose, is the text reader, while the receiver of drama includes not only the reader of theplaytext, but also the audience in the theatre. Thus the playwright needs to bear

19、reader andaudience in mind at the same time. On this point, Robert Cohen also stated his opinion:“Because drama is often thought of as a form of literature and because many dramaticauthors begin as poets or novelists, it may be seen as if playwriting is primarily a literaryactivity. It is not. Etymo

20、logy helps here: playwright is not playwrite. Writing for the theatreentails considerations not common to otherliterary forms.” Cohen, 2000: 82As a genre of literature, drama is mainly composed of stage directions and dramaticdialogueStage directions refer to the playwrights imagination of the stage

21、 space Barranger,1986: 290. It is actually a description of intended paralinguistic instructions to directactors physical action. Stage directions can be divided into several categories, includingenvironmental description, setting description, description of characters facial expressions,mood and ge

22、stures. As a common role, stage directions are formal in style and concise inlanguageDramatic language, as the main content of a drama, is not merely an arrangement of2words on a page. It differs from other literary language in that it is “more than words on apage?it is the playwrights blueprint of

23、a special kind of experience, created to appeal asmuch to the eye as to the ear” Barranger, 1986: 89 -90. It is a conceptualization of theinteractions of myriad elements in the theatrical medium: movement, speech, scenery,costume, staging, music, spectacle, and silence. As is said in An Introduction

24、 to Literature,drama is “not simply words but words spoken with accompanying gestures by performerswho are usually costumed in a particular setting” Barnet, Berman and Burto, 1997: 536Dramatic dialogue is of essential importance in developing plots, creating characters,presenting crisis, describing

25、circumstances and revealing the theme.The relationshipsbetween characters are, for the most time, constructed and developed through the languagethey use. Thus the creation of drama language becomes even harder. On the requirementsof dramatic language, many scholars have put forward their opinions, s

26、uch as Nicolls“economical and artistic” Nicoll, 1985: 95, Backers “clear in meaning, helpful to theadvancement of plots and in accordance with personalities” Backer, 2000: 426, LiJianwus “colloquial” Li, 1982:153, Lan Fans “actable, individual and poetic” Lan,1992: 474 and so on. Taking all these re

27、quirements into account, the most conspicuousfeatures of dramatic dialogue can be summarized into speakability and individualitySpeakability guarantees the effectiveness of being naturally spoken by actors and quicklyunderstood by the audience. And individuality defines the characterization of the w

28、holedrama1.3 Duality of Drama Translation: Performance-oriented & Reader-orientedAs has been explored in previous sections, drama differs from other literature genres,for it is not only a linguistic art with reader-reception as its form of fulfillment, but also aperforming art with the theatre-goers

29、 as its ultimate receptor. The peculiarity of dramaresults in the duality of drama translation. Other than those general requirements forcharacteristicsAs a genre of literature, drama is loaded with the specificity of the culture it issituated in, like any other literary form. As we know, drama is t

30、o reflect real life and theproduction of drama is closely related to the life style and ideology of a certain society. To3put it in another way, drama, within hours performance, reflects the essence accumulatedin a culture and the seemingly concise dramatic text actually is loaded with plentifulcult

31、ural traits. Thus translator, as his mission determines, has to do his best to transmit thecultural information embedded in the original drama text, delivering the properties ofsource culture and conveying the aesthetic art of the source text as much as possibleWhile at the same time, drama is to be

32、 presented to the audience, the actualfulfillment of the essentiality of it depends as much on the extra-linguistic situation as onthe linguistic context. As a result, drama should not be translatedsimply as the text on thepage. The stage aspect of the play text should also be emphasized in drama tr

33、anslation, thatis, to ensure the performability of the source dramatic text on a foreign stage. According toBacker 2000: 51-52, performability means that theatrical needs are satisfied, and emotionis conveyed to audience within a certain time indirectly by actors rather than directly bythe playwrigh

34、t himself. But to naturally perform a foreign drama in a different context isnot an easy thing, for people from different cultures have different conventions andideologies. When translating other literary forms, we may resort to footnotes to solve thisproblem, but on the stage, its impossible for ac

35、tors to read footnotes to the audienceTherefore adaptations to target language and culture are inevitable in drama translation,thus to avoid footnotes as well as difficulties in understandingThus the drama translator is confronted with a central problem: to maintain theoriginal culture-bound message

36、 is a basic requirement for thetranslator. However, in orderto ensure the performability, adaptations have to be made and thus source culturalmessages will inevitably be affected. We may get a more thorough understanding of thedilemma in drama translation from A Text Book of Translation Newmark, 200

37、4: 172:“The main purpose of translating a play is normally to have it performed successfullyTherefore a translator of drama inevitably has to bear the potential spectator in mindthough, here again, the better written and more significant the text, the fewer compromiseshe can make in favor of the rea

38、der. Further, he works under certain constraints: unlike thetranslator of fiction, he cannot gloss, explain puns or ambiguities or cultural references, nortranscribe words for the sake of local colour: his text is dramatic, with emphasis on verbs,rather than descriptive and explanatory.” 4In light o

39、f all these factors, due to the peculiarity of drama translation, traditionaltranslation theory, which is mainly based on linguistic equivalence, could hardly help herein drama translation1.4 Relevant Study of Drama TranslationAlthough drama is the oldest genre of literature, academic study on drama

40、 translationonly got its start thirty years ago and still leaves much of its territory unexploredCompared with the study of the translation of other literary genres, study of dramatranslation lags way behind, and only a few scholars have systematically summarizedtheories of drama translation1.4.1 Dr

41、ama Translation Theories in ChinaIn China, few works have been written on the central issues involved in translatingplays across languages. Yet we do have several scholars who have come up with someprinciples or theories concerning drama translation based on their own translation practicesAmong them

42、 the most prominent are Zhu Shenghao, Yu Guangzhong, and Ying Ruocheng1.4.1.1 Zhu ShenghaoMr. Zhu Shenghao, an excellent writer and translator in China, translated most ofShakespeares plays successfully into Chinese. In the preface to his translation ofShakespeares plays, he shared his experience in

43、 drama translation:While translating this book, I tried to maintain the verse of the original work to the utmost. Whenthat could not be achieved, I strained for resemblances, and lucidity and fluency are preferred inmy translated version to faithful reproduction of the original style.As for word-for

44、-wordtranslation, I personally think poorly of this mechanical rendition. When the original text differsvastly from the Chinese version in grammatical structure, Id rather adjust the sentence structure ofmy translation for the sake of intelligibility. After I translated a section, I would go through

45、 mytranslation as if I were a member of the audience and tried to see if there were any ambiguous andmisleading places. I would then act the translated play out as if I were an actor and see if the5translation read smooth and sounded melodious. A single hard word or sentence often may throwme into w

46、eeks of deliberationZhu, 1984: PrefaceHere Zhu Shenghao emphasizes some important aspects of drama translation: first,translation should try to preserve the original spirit; second, translation should be clear andeasy to understand; and third, translation should be smooth and easy to be pronounced b

47、ythe actors1.4.1.2 Yu GuangzhongYu Guangzhong has also summarized his tri-fold translation principle in the preface tohis translation of Oscar Wildes The Importance of Being Ernest:Fictional dialogue and dramatic dialogue are different in that readers can read the dialogue in afiction again and agai

48、n for better comprehension, while theatre-goers can only listen to thedialogues in a play for one time. When certain information is missing, its gone for good. Itranslated this play not only for Chinese readers, but also for the Chinese spectators and actors,therefore I adopted a specific translatio

49、n principle this time: I tried to make sure that my translationis pleasing to the eye of the readers, and pleasing to the ear of the audience, and easy to deliver byactors and actresses. I hope that my translated play turns out to be an animated drama-on-stagerather than a restrained closet-drama. Y

50、u, 1983: PrefaceFor Yu Guangzhong, dialogues in novel and drama are written for different purposesso the translation of them should be done with different strategies.He emphasizes that thedialogue in a drama is to be heard by the audience and spoken by the actors, so a translatorshould bear in mind

51、the principle of making his translation “pleasing to the eye of thereaders, pleasing to the ear of the audience, and easy to deliver by actors and actresses”1.4.1.3 Ying RuochengYing Ruocheng is a famous drama actor, director as well as translator.As an actor,Ying Ruocheng emphasizes the colloquiali

52、sm in drama translation. In the preface to his6series of translated works, he points out some important features of drama translation andsummarizes his own principles for drama translatingA line spoken by an actor is transient; he cannot stop to annotate and explain, and this is the artisticessence of dramatic languageThe dramatic language should be sonorous and forceful,